s t a t i o n i ii y Volume 5 Number 2 May 1997 BOOKS FROM THE HEART- AN INTERVIEW WITH EDWARD H. HUTCHINS Eilen G.K. Rubin Scarsdale. New York Ed Hutchins does not have writers block. In fact, it would probably take tiiree life-tunes for him to realize all his ideas as books. I met with Hutchins in his shared- studio in the basement of the Visual Arts Building of SUNY -Purchase, where he is working on his Master's Degree in Fine Arts. The dark, institutional, graffiti- covered, cinder-block construction belies the luminous creativity going on inside, in an effort to describe the proposed dozen books which comprise his thesis. Ed opened his metal storage closet and much like Fibber McGee's. books tumbled from inside. After spending an afternoon with Ed. I observed his mind to be like his closet rrrepressibry full of ideas. One of four children raised in Tucson Arizona, the 48 year old Hutchins traces his artistic roots to his great- grandfather, and grandfather who chronicled the settling of the West as photographers. Like Ed, they were prodigious artists producing a quarter of a million negatives which have taken 23 years to catalogue. A 1973 graduate of the University of Arizona with an M.S. degree in Government Service and a minor in the Arts. Ed credits himself with a very "■™"™"^^- ' -^BS "checkered business career " In the tradihori of "tinker, tailor, soldier, spy." Ed has worked at a laundry list of jobs and professions, from clown and soda jerk, to tour guide and art director. All. he claims, have made an impression on his work as a book artist. Starting as a hobby in the early 1960"s. Ed began making editioned books He admits early efforts were "pretty rough.'" But it was not until the early '80's, after taking classes at the Center for Book Arts in New York, that he decided to create books full-time. Living on the proceeds from his house sale, in a rented garret without phone or doorbell. Ed "just made books " "It was the most wonderful time!" "Toying With Books. Fne Use of Force and Motion m Delivering the Message in a Book Format." is the scholarly title of Hutchins' master's thesis. One of the several books in it will be limed Autobiography- A timing mechanism will move wheels, which turn pages, and present Ed's life story at a set pace. Another, The Storyteller, is much like an arcade game. At the top of a wooden box, a marble is put in the "storyteller's" mouth. Making its way down a cascade of ramps, the marble sets off 'bells and whistles' and activates a series of word- wheels. With even - play of the marble, new stories are created. Other books which may be included. (Ed was reluctant to give me a list lest he change his plans) are Flying Fish, Hicorporating mobiles hanging from cut-outs in several pages, and The Original Revised Edition. where pull-tabs change words to become ones more "politically correct" Another model was for a "rotating Hexagon" whose colors and shapes change when properly-placed fingers move. Still another project he demonstrated is called. Twisted. Four sheets of paper create the movable pages and its own box. By twisting the covers, the pages advance. The text deals with the attempts of organizations to get individuals to conform to set norms. Besides these creations, Ed also showed me numerous "bonus" book projects he was working on. We were less than one hour into this interview and I was already overwhelmed and agape' Who wouldn't be? Each model was snore unique and complex than the next! To Ed Hutchins. "Everyone is a maker of books because everyone has a story to tell." We explored at length what is and what is not a book. His broad definition, with the emphasis on broad, is "a structure for storing and sharing information." He recalled. "Someone said a refrigerator could then be called a book." To which he laughingly responded. "What a great idea!" In feet, one of HutcMns' favorite paper engineers is Ruth Tildes. Marline's Gardes, 199c : The Movable Book Society Movable Stationery is the quarterly publication of The Movable Book Society. Letters and articles from members on relevant subjects are welcome. The annual membership fee for The Society is $15.00. For more information contact Ann Montanaro. The Movable Book Society. P.O. Box 1 1654, New Brunswick. New Jersey 08906. Daytime telephone: 908-445-5896 Evening telephone: 908-247-6071 e-mail: montananaici.rutgers.edu Fax: 908-846-7928 The deadline for the next issue is August 15. Continued from pag* 1 Her What 's in the fridge? is a good example of his definition of a book. Shaped like a refrigerator, it is filled with the A-to-Z of food items. Ed continued. "'Books need not have text at all." The very act of turning the pages may provoke ideas and narration. Because he thinks of his art in "terms of books." Ed considers himself more a book artist than a paper engineer. A paper engineer, he says, may not necessarily be interested in books as the end result. After seeing several thesis proposals and knowing his other works, it was very clear to this observer that Hutchins pushes-the-envelope in defining what is a book. Travelog, 1995 "Ignorance!" Ed unhesitatingly bellows at my question about who is the enemy against whom he wages 'war". (Picasso said. "Painting is an instrument for ... war against the enemy") Despite his seemingly helter- skelter system. Ed's war against intolerance, narrow- mindedness, and conformm- is quite focused. I was privileged to see his work. Moving the Obstinate, which he had in the workshop. This opus, done in an edition of six. was shown at the Smithsonian's exhibit. "Science and the Artist's Book" in 1995-1996 .* Based on a 1590 book by Domenico Fontana who describes moving a 300-ton obelisk to the Vatican. Ed realized during bis research that changing someone's mind may be a more daunting task than this engineering feat. This unusual book comments on bigotry, fear, and religious intolerance. Constance Woo was the curator of "Flights of Fancy-The Books of Edward H. Hutchins," a retrospective show held this past Fall at the Resnick Gallery on the Brooklyn Campus of the Long Island University. She described Ed's books as being filled with "a passionate commitment to humane values and mores " I asked Ed if his message was making in-roads "We (artists) can't be responsible [for] whether a message sinks in. But I think it's important to let people know where we stand " But making his books avadable to The Rabbit Report communicate the message has been a problem for this artist, who. up until now, has hand-cut his own rubber stamps. Much of Hutchins" work has been printed with stamps and stencils. A key reason for coming to SUNY is to learn off-set printing in order to produce larger editions of his work. Ed chooses to sell his own books, relishing the immediacy of a collector's reacuon. There are times he will not sell to someone he thinks doesn't appreciate his w ork-for example, the miniature collector who w anted any book less than 3 inches, no matter the qualm or content. Hutchins has "resigned"' himself to having his work referred to as "whimsical.'" probably labeled so because of then - bright colors and off-beat formats. But anyone who has seen his books and appreciates their message, will agree that "whimsical" applies only to their presentation. While not owning a large collection of pop-up and movable books, Hutchms is not without his favorites. Julian Wehr tops his list because of the multiple movements achieved with a single pull-tab. Kubasta is also a favorite and Ed is happy to have been able acquire many different titles on the streets of New York for reasonable prices I was happy to learn of another Czech artist he favors, for she is a favorite of mine. Kveta Pacovska. now working in Prague. Ed could not believe Robert Sabuda would top his Christmas Alphabet until he saw 7"/!? Twelve Days of Christinas*. Like an insider giving a hot tip. Ed urges. "'Keep an eye out for David Whittredge. the paper engineer." Those who met David at the Movable Book Society Convention last May were astounded by his innovative and delightful movables. The world is starting to sit-up and take notice of Ed Hutchins" awesome work The Mystery of the Magic Box. a collaborative effort, was the exhibit catalogue for the Anchorage Museum of History and Art. In 1996. the American Association of Museums awarded it Honorable Mention in the "Exhibition Catalogues" division. In 1999. Harvard University's Houghton Library of Rare Books, which owns the largest collection of Hutchins' work, will produce a 10-year review of Editions. Hutchins' company The Library at UCLA is going to exhibit Ed's master's thesis Without regard for the additional pressure. Ed has moved up the original exhibit date to May. 1998 so that those attending the next Movable Book Society's Convention in LA may see it. He plans to have video demonstrations of this highly animated array of books. Ponng over Hutchins' books, he was always careful to pomt out the man}' collaborations with designers, printers, and teachers. Throughout my visit, in the lunchroom, his studio, and the hallways. Ed was continually approached by fellow students. In his characteristic avuncular way. they were all warmly greeted. Introduced as an interviewer, they were unaware Ed and I were previously acquainted Each took me aside to make sure I knew Ed Hutchins was the most generous, creative, and canng person they had ever met. Reviewing this artist's work and privileged to witness his emerging ideas, it was abundantly clear that ingenuity overflows from his fertile mind, but the meaning of his work, and his life, pours directly from his heart. Website for pop-ups: http://imndunk.net/know\vare/popups.htm. This site. Tom's Pop-up Menu, includes Ann Montanaro's Rutgers exhibit, a history of pop-ups. and the Smithsonian Exhibit and other related information. ** Several of Ed Hutchins' books may be seen in Cover to cover. Creative techniques for making beautiful books, journals & albums. Shereen LaPlanrz. Lark Books (1995). ISBN0-93 _ 274-81-x Pop-Up Books with Games Anne D Williams Lewiston. Maine Well, it's time to confess. I have a second collection that competes with jigsaw puzzles for my attention. Just over a decade ago. when Halley's Comet w as all the rage, a friend gave me a copy of the Halley's Comet pop-up book I opened the cover and on the first page, the comet rose off the page and streaked past the moving earth Another two-page spread featured a six-inch-long standing cardboard telescope through which the reader could view slides of the comet's progress through the heavens. I was entranced, bow led over by the marvels of the ingenious and creative paper engineering Like many collections, my acquisitions of pop-up books started out slowly. On occasion at the bookstore I would see an intriguing pop-up book remaindered for a dollar or two. and I'd think. "Why not?" For several years. I spent less than $4.98 per book. But then I realized that some of the most desirable books never made it to the remainder tables. By the late eighties I was mainlining in the children's section of the bookstore, checking out new titles as soon as they appeared. And recently. I've bought a few of the older titles at flea markets and shows — not too many though, they can be a lot pricier than jigsaw puzzles or games Although all kinds of subjects show up m pop-up form, one of my favorite genres is pop-up books with games. (Don't confuse these with games that have pop- ups. which will have to be the subject of a different article.) This article describes the pop-up books that will appeal most to game collectors. Helen Andrews taught me that a book could also be a game at the American Game Collectors convention in Burlington. Vermont in 1992 For show-and-tell she displayed the Harvard Community Health Plan's Annual Report. It featured a spinner in the cover and. bound into the middle of the book, a fold-out game called "Check Up: The American Health-Care Game (anyone can play but few can win)." This track game used lift-up flaps to hide rewards and penalties. For example, one space says "Your employer offers comprehensive health coverage." Good news, seemingly, but under the flap is the depressing truth, "Your payroll deduction goes up by 25%. go back 6 spaces." Shortly thereafter I found a used copy of Ron Van der Meer's The world's first exer pop-up games book (London: Heinemann. 1982). the pioneer in this genre. Each of the four double-page spreads contains a different game. "The Enchanted Forest" is the simplest, a track game with a pop-up tower in the middle, and with instructions hidden under flaps "Flip the Button" and "The Golden Goose" use pull tab mechanisms to propel buttons or coins through into three-dimensional targets. "Dunk the Clown" is another skill game, involving a pop- up shdc and a dunk tank. 1994 was a good year for pop-up game books with the publication of both Cowboy Mickey's pop-up book of games (New York: Disney Press) and Golf-o-rama (New York: Hyperion Books) The first has "4 rootin' tootin' wild west games:" one track game, two flipping games, and one that works a bit like a slot machine. Mickey and Minnie Mouse. Donald and Daisy Duck, and Goofy are the stars who usually prevail against Ornery Pete in this book. Golf-o-rama is all action, featuring a 9-hole pop-up mmiature golf course, with foam balls, cardboard clubs. and a pad of score cards. The names of the holes ("A Watery Grave." "The Curse of King Putt." "Walk the Plank." etc.) suggest the hazards Three-dimensional snakes, crocodiles, and swamp creatures swallow the ball when it goes the wrong way. And of course there is the traditional windmill with revolving blades that block the passage to the cup. The designers of this book added the clever device of velcro coins to hold down the pages and keep the playing surface stable The Lion King puzzle pop-up game book (New York: Disney Press. 1995) was the top item on my 1995 Christmas wish list. This book fits into both my collections. First you have to put the gameboard together, using the large folded puzzle pieces tucked into the various pages of the book. When the pieces are unfolded and assembled jungle and desert scenery pops up. The book also contains penalty and reward cards. and the fold-up cardboard die needed to play the game The book of pop-up board games by David West and Brian Lee (New York: Shooting Star Press. 1996) is the most recent addition to my mini-collection of pop-up game books. (As far as I know, this West & Lee are unrelated to the famous 1870s game company of that name in Worcester, Mass.) The attractive graphics and large pop-ups in the center of each spread offset the inherent simplicity of the four track games. "Pirate Treasure" is the most dramatic, with a large pirate ship sailing over the centerfold. Not exactly board games, but certainly related, and of interest to many game collectors, are four other books: Dimensional mazes, an entirely new May of losing yourself in a book by David Pelham (New York: Viking Penguin. 1989). Movable flaps multiply the paths through the pop-up mazes. The pop-up book of magic tricks by Ron Van der Meer (New York: Viking. 1983). Fourteen tricks for the aspiring magician include the "Vanishing Coin" that disappears into the pop-up hat. (Magicians can get rich this way. if the audience supplies the money.) Eye magic: Fantastic optical illusions by Sarah Hewetson and Phil Jacobs (New York: Western Publishing. 1994). A working kaleidescope and zoetrope add to the other illusions. Puzzle power! Multidimensional codes, illusions, numbers, and brainteasers by David Hawcock and Patrick MacAUister (Boston: Little Brown. 1994). Mathematics, optics, and logic form the basis for most of the puzzles in this book. Several books contain movable parts involving games but are not true pop-ups For example, readers can find both a mini-gameboard ("A Race to the North Pole") and a 4-piece jigsaw puzzle of Santa in the pockets of Santa's Christmas ride, a storybook with >-eal presents by Louise Berts Egan and Robyn Officer Kansas City: Andrews & McMeeL 1993). There are also many books, both old and new. with jigsaw puzzles incorporated into them, but that's another article too Editor's Note. Anne Williams, a Movable Book Society member, collects jigsaw puzzles and has written extensively about them. She also serves as .Archivist of the American Game Collectors Association and originally wrote this article for then newsletter. The AGCA welcomes all who are interested in games, puzzles, and related indoor playthings. Calendar year membership is $25 for U.S. and Canadian addresses. $35 elsewhere. For more information write to AGCA. P.O. Box 44. Dresher. PA 19025. Creating Artist Brian Wildsmith interviews himself O. Your first pop-up was Noah's Ark, and now you follow it with The creation. Is there very much difference in creating a picture book (a "flat" as the trade calls it) to creating a pop-up? A. Yes there is. Of course, the essential difference is that a pop-up has to be conceived in volume; any volumetric shapes have to be made to fold flat when the book is closed. Many pop-ups merely have a flat surface, which rises upright when opening the book. This is a simplistic approach and doesn't utilize the full potential of what can be achieved. O. How do you begin the process? A WelL as a child once said. "I think and then I put a line around it." Once the image is firmfy in my mind I make a rough model. This is then sent to Intervisual Books in Santa Monica. California. They have wonderful talented paper engineers there who work out how to make the image fold. Each shape is dissected into its separate pieces and then sent to me to paint. O. A picture book has so many more pages to it than a pop-up, which is usually five or six spreads. Why? A. Simple economics always rule a product. In comparison to a pop-up. a picture book is an uncomplicated manufacturing operation. ALL the pictures are printed on one or two large format sheets of paper, folded and then bound ALL operations are carried out by machine. A pop-up is printed on thm card (again two sheets normally) but then all the pieces that are effectively to pop-up have to be cut out. assembled and glued mto place ("glue points" they're called) by hand. It was then painted in various colors and adorned with gold jewels. Sadly, as with so many great masterpieces, it's been destroyed but it must have been inspiring - sorry. I'm digressing. Q. How do you begin? What was the starting point? A. In a subject like the creation you have to decide just where you stand on the issue, i.e Genesis or the Big Bang theory. I came to the conclusion that there wasn't a great deal between the two concepts, the main difference being Time (the concept of Time)/ Genesis: God created the world in six days. i.e. 6 x 24 hours. If you remove the time element from Genesis and make a day = millions of years, where s the difference? God = what? - a super power that made or caused the Big Bang, sending matter to swirl and form mto the infinite that with time became the universe. Of that same super power, or God as we conceive of Him. the Bible says God made man in his own image and our imagery of God is as we are. We need images we can relate to. It does help us to come to terms with an infinite so vast that it's quite beyond comprehension. Q. So you walked through the Gates of Genesis towards the Garden of Eden? A. Yes, I decided to make my image of God = Male- Female-Black-White-Colored-Onenlal. making a cruciform shape standing upright on a panorama of flat art representing the universe. O. I see that your cruciform God is holding up high in glory our lovely planet earth, whilst supporting stars and moons with the other hands. A. Yes, this was all necessary in order to give stability, and bind the structure to the base page, ensuring that the whole structure pops up correctly and doesn't collapse. O. How many glue points are there to The creation? A. There are 175 glue points in the final assembly, with over 100 different cut-outs to be glued mto place. When you think of it for the amount of intensive manual labor involved, pop-ups are amazingly cheap to buy and they can soon become collector's items. O. Spread two has a very complex base painting of many different shapes and colors. A. In this painting I wanted to convey the mystery and wonder of the first growth of plants, trees and foliage emerging from the deep blue of the third day. O. Creatively, what is it that attracts you to pop-ups? A. It's the combination of flat art and a kind of sculpture, which is painted sculpture. The ancient Greeks painted then sculptures. Pheidias carved a 36 foot high wonder, Pallas Athena, which stood m the center of the Parthenon. O. The pop-up flowers and revolving wheel on this spread - do they have significance other than being beautiful flowers ? A. The simple delicate pop-up flower is an expression of the purity of the world as it was then But if you turn the wheel, you'll expose the Datura flower, lovely, seductive but deadly if misused, a perfect symbol of temptation come into our world. The Datura flowers I drew from my wife's garden. I love the revolving wheel effect It was first used at the end of the nineteenth century by Ernest Nister of London in his enchanting Victorian revohing books. O. There are lots offish swimming around on the third spread. Are they accurate? A Yes. the shapes and forms arc all accurate but I've allowed myself a little artistic licence m the coloring. They were great fun to paint and really gave me very Utile trouble. However, the sky was a different matter. I wanted a very special sky. A sky as it would have been at the dawn of creation. How would it look'' One day looking over the mountains behind my house there appeared such a sky. God had sent us the best He had. It was so beautiful On spread three. I share it with you O. Do you like birds? A Indeed. I do Birds symbolize man's eternal search for freedom They sing and soar and bless our earth with their plumed beauty. They're lovely to draw and a joy to paint. O. Did this spread pose any particular problems? A Originally I placed the pop-up tree trunk in the center of the double-spread but the paper engineers couldn't make it fold satisfactorily in that position and so they moved it out to center right hand page. Also I'd have liked the woodpecker to be able to tap the tree trunk, but for mechanics to do this it would have involved more cost. All vou need is brass, as mv father used to sav Q. Did they? A. Yes. thank heavens, if it hadn't been for the barman I'd have gone to the hospital and they would have pumped me full of anti-snake serum Ughh! ! ! O. Tell me about the final spread A. In the final spread. I placed annuals and man and woman in a stage setting ready to act out the opera of life m which we are all cast in supporting roles We've all lost our wonderful fertile Garden of Eden but our souls are forever searchina to find it once more O. Any problems with this page? A. The base page has a border of flowers, insects and small animals which surround a large area of flat green Just before I was ready to pack up all the work for delivery to OUP. I noticed I'd forgotten to color the spider O Yes. A. I dipped my brush into the water pot and Sod's Law came into instant operation. Two tin)' blobs of water fell on the bare green, discoloring where they fell. I simply couldn't get the green back to its earlier pristine stale. I just couldn't match the color. Q. So you had to repaint the whole area again ? A. I was going to but my little granddaughter looked at it and said. "Brian, why don't you paint two little beetles on the spoilt part." and so. that is why two little creatures are crawling across the page. Glory, love and admuation to ALL CHILDREN - our hope and our future. (J. The Garden of Eden - I looked closely but can't find the serpent A Darned right you can't Whilst working on this spread I went into the garden to water my tomatoes and was bitten on the ankle by an adder. Right. I thought, adder you have had it. There and then I decided I wasn t having a serpent in my Garden of Eden. The apple tree is there, thoueh O. Hhat happened to your ankle? A My foot and ankie swelled up to twice the normal size. The local barman told me not to worry as after eight days thev'd shrink back to normal. Reprinted with permission from Books for Keeps: The children s book magazine. November. 1995. The 2nd Conference of the Movable Book Society April 30 May 1 and 2. 1998 Los Anaeles. California Watch with Mother Theo Gielen The Netherlands Early in December. 1996 we saw this newspaper report: Wooh British TV-star Bought by Japanese Fan The British teddy bear and tv star Teddy Edward was sold for over for 34.000, pounds sterling to a Japanese collector who had previously bought the most expensive teddy bear in the world. Teddy Edward, who played the lead in several books and in BBC Television serial "Watch with Mother," sold at an auction at Christies in London for six times its estimated price. The bear earned a reputation in the fifties and sixties throughout the world and was for that reason called the most traveled bear in the world. Teddy Edward's new owner is the fifty-year old Yoshiluro Sekiguchi owner of a Japanese toy factory and of a teddy bear museum. He is a well known person in the world of teddy bears since two years ago he paid the record amount of 110.000 pounds sterling for Teddy GirL a rare red-brown teddy bear made by Steiff in 1 904 . What the journalist apparently didn't know was that Teddy Edward also starred in several pop-up books that accompanied this popular BBC program for tots, from 1 950 onwards presented in those earh' days of television by the well-known Patricia Driscoll. Most of these pop-up books were published in the fifties by Publicity Products Ltd. from London; some of them were reprinted in the sixties but these reprints appear to have fewer pop-up pages: three instead of five m the earlier editions. The reprints also had a new cover design and are a bit smaller. The illustrations were by Monique Partridge, sometimes by Matvyn Wright. The paper engineering, though not credited, could be by Keith Moseley The stories were by Maria Bird and mostly dealt with Teddy Edward and his friends Andy Pandy, a little clown, and the rag doll Looby Loo. The whole was kind of a forerunner to Sesame Street. Some of the titles, none of them are in Ann Montanaro's bibliography, are: Watch with mother jump- up picture book. Andy Pandy and Rocky Red. Andy Pandy and the queen of hearts, and Andy Pandy s jump- up book. So. the "wooh 1 British TV star" also could have been a desirable ephemeral item for any collector of pop-up books. Just the price wasn't right! Book and Paper Happenings The Fifteenth Annual Conclave of The Miniature Book Society will take place in Bethlehem. Pennsylvania August 29 through September 1. 1997. Included in the activities will be a trip to Ephrata and Lancaster, PA, a reception given by the Curator of Special Collections of the Linderman library at Lehigh University, and a banquet and other activities on Monday. A Book Fair on Sunday, August 3 1 is open to the public from 10:30 to 4:30 and participation is anticipated from about 40 small press and miniature book dealers from all over the US and Canada and probably a few from Europe. For information on membership in The Miniature Book Society or the Conclave, contact Jane Conneen. The Little Farm Press. 820 Andrews Road. Bath. Pennsylvania 18014. Phone:610-759-5326. Email: Lfarmpress@aol.com or check the web site at http ://www.membrane. com/books. The 1997 Summer Arts Institute at The Women's Studio Workshop offers a wide range of sessions on printmaking. papermaking. book arts, and other media The classes are two. five or seven days and are taught from July through October For more information write WSW. P.O. Box 489. Rosendale. New York 12472. Telephone: 914-658-9133. Fax: 914-658-9130 Email: firstname.lastname@example.org or http ://wvw.webmark.com/wsw7wswhome.htm. POP •UP PUZZLE SOLUTION s A M M u s 1 cl In E T T R U 1 N T R ol 1 D O 1 T S s T E A m| |s O N L 1 _E_| I O P| | P | A t 1 L A U d| |l|e E D s ■■ M o|v A B L E | I R A H B 10 1 |s|o C 1 E t [y| |m Y A w L | I L E T T e|r s| A L O 1 v| Is A G A |t e| |c X Ll IB A S A S H 1 L L A M A l E u M P T R A L A L A si Id 1 E T O R I X 1 S t| |a N N New Publications The following titles have been identified from pre- publication publicity, publisher's catalogs, or adver- tising. All titles include pop-ups unless otherwise identified. Titles reviewed in Robert Sabuda's "Movable Reviews" column are not included in this list. Baby. 0-7624-0020-x.Running Press. $4.95. Also: Good luck. 0-7624-0021-8. Happy ever after: A wedding poem . 0-7624-0021-8. I'm sorry. 0-7624-0030-7. Aries. 0-7624-0030-7. Aquarius. 0-7624-0035-8. Capricorn 0-7624-0028-5. Libra. 0-7624-0026-9. Pisces. 0-7624-0033-1. Sagittarius. 0-7624-0030-7. Scorpio. 0-7624-0030-7. Taurus. 0-7624-0032-3. Virgo. 0-7624-0030-7. SMITHSONIAN INSTITUTION LIBRARIES 3 9088 01629 2799 Bottom of the ninth. Kingfisher Books. $8.95. 0-7534-5046-1. Famih: A gift book with changing pictures. Andrews and McMeel. 3 '/ 2 x 3 3 A. 4 pages.$4.95. 0-8362-2680-1 Also: The joy of reading. 0-8362-2677-1. Gardens of delight: A pop-up anthology of romantic verse and paper flowers. Abrams. $16.95. 0-8109-3392-6. Happy birthda\> to you - a pop-up book. Little Pop-up Books Andrews & McMeel. $4.95. 0-8362-294-4. Also: Love love love - a pop-up book. 0-8362-253-3. Mommy, who does God love?: A pop-up lift-the-flap book By Mary Melcher. Little Simon. $10.95. 0-6898-1036-9 Babies. Tinv Tome Pop-up Books. Andrews & McMeel. $3.95. 0-8362-952-5. Also: Cats. 0-8362-954-1. Golf. 0-8362-9526-8. Love. 0-8362-2957-6. Mothers. 0-8362-2958-4. Blue, blue and yellow, too: A color-learning pop-up. Bv Biruta Akerbergs Hansen. National Geographic Society $14.00.0-7922-7004-5. Pop-up trucks. By Richard Fowler. Harcourt Brace. 0-1520-1681-3. Richard Scarry's pop-up wheels. Little Simon. $8.99. 0-6898-1076-8. Also: Richard Scarry's pop-up time. 0-6898-1077-6. Sharks. Andrews & McMeel. $14.95. 1-8884-303-0. IL's for my little nephew." (Cmon, your mask has cracked. They've seen you here before. It's time lo drop the act.) Politely, they humor you You've lost it, so they think Your lile's a downward spiral From shrinkwrap to a shrink And then they pop the question That's meant for all us kooks "Whad'ya call a collector Of movable books?" Surely you've encountered This crazy query loo You wish you had the answer You just don't have a clue AM? Ajit C. ?m They've got a tag for Star Trek And every weird addiction But they don't have a term yet For this wonderful affliction My Webster's yields nothing More so my thesaurus It's high time we create J A proper label lor us. Let's start with mobilis A touch ol good old Latin Ol, course, there's biblion We've goi lo put thai in End it with philos Then put these together Now fin'lly there's a handle For lolks ol ihe same leather. Next time while I'm paying For the latest Sabuda "It's for me." I'll declare Proudly as 1 should-a And if the clerk asks me I'll brace mysell and smile "You can simply call me A mobibliophilc ."